nastiaosadchenko

[nastiaosadchenko]

FINAL PRESENTATION

Key elements that should visibly become the “specialisation” of this presentation:

- not necessarily a trend forecast presentation, but important to keep it visual & in relation to zeitgeist, trend elements, cultural & societal references

- concept texts + extracts -> keep them poetic, romantic, captivating, and not too technical and strict

- target market is a crucial part, that is challenging in my case, and that has to be clearly presented -> with a reference to couture designer (Simone Rocha)

- format of the Material Book -> technical material info clashed with popping up trend-pairing of visuals

[nastiaosadchenko]

TOWARDS THE FINAL ASSESSMENT

Now that the final component of the project - prototype - is finished, it is the finalising stage. The bringing-all-together stage: concept (mood boards, texts, visuals, mood), creative process, material collection, sustainability considerations, production process, prototype & its photoshoot. All of the components will come together in one video, which I would like to make in a format in between a concept/trend-presentation and a book/journal (like my Material book).

[nastiaosadchenko]

PROTOTYPE • SHOOT

Though, what this photoshoot really asks for is good styling. My idea when I started photographing was to grow the textile into the hair, make it an elongation of the body, of the human features. But that turned out such a complex task, that it was too ambitious to make it work just using my own braiding & make-up skills. Which is why I decided to drop the idea at all: it is better to not have it done, rather than having it in an unfinished manner, or even worse, on amateur level. 

I am not really unhappy with the decision. I believe I managed to make the smart choice, considering the conditions & materials that I already had. But once again, I know it’s not the best of the best, and I know exactly what I would need to improve.

[nastiaosadchenko]

PROTOTYPE • SHOOT

[nastiaosadchenko]

PROTOTYPE • SHOOT

[nastiaosadchenko]

PROTOTYPE • SHOOT

Close-up shots are really well done, in my opinion. They convey all the detailed intricacy of the garment - the translation of one of the most crucial concept messages, attention to minuscule details in life. I am happy about that, just as I am satisfied with the representation of material textures, transparency & colours.

[nastiaosadchenko]

PROTOTYPE • SHOOT

[nastiaosadchenko]

PROTOTYPE • SHOOT

[nastiaosadchenko]

PROTOTYPE • SHOOT

Having completed the prototype & conducted the photoshoot, I can overall say that the results could have been stronger. But it was a lot of hard, time-consuming and very very intricate work. The embroideries were super tough, the construction of the garment was challenging. And as for the photoshoot, while I was already doing it, I realised that my ideas demanded a higher professional level than what I was able to achieve (also considering my still ongoing Corona isolation). If I chose a better location, involved a stylist and a photographer, then all the “dreams” would come true. Otherwise, the result is what it is. I am still happy, but considering the overall achieved level, I know I could have done much more.

[nastiaosadchenko]

ONE WITH WATER

A link between the prototype in-the-making and the concept moodboard has to be checked once again. It is crucial that I don't loose the feel, the colours & the reference points while focusing so much on the techniques. Also considering the time pressure, my whole attention now goes into embroidery and prototype construction, which means that it is easy to dive into the making process without remembering the concept, inspiration & original message of this project.

[nastiaosadchenko]

PROTOTYPE • FACE MASK

Almost finished part of the garment. Very complex intricate embroidery that was hard to make and now hard to merge with the collar piece, as well as with the hair. That is the main challenge - to attach everything to the body in the most flowing and growing way, as possible. But that will be the challenge for the photoshoot time, since this garment is very much about the styling, rather than construction.

[nastiaosadchenko]

PROTOTYPE • BRAIDED COLLAR

From what it seems like right now, the collar was a success. A lot of intricate work, but not the most complicated part yet. The collar turned our very consistent in colours, textures, length & sizes. And especially exciting was my latest idea on sequin embroidery: instead of implementing transparent sequins like everywhere else, I decided to make the collar more condensed and matte, by using non-transparent hand-made sequins out of old plastic folders. 

Regarding the overall look of the prototype, this collar now became the base for the other elements - face mask & sleeve. All in all, the pieces have to come together in one growing close-to-body garment. It is especially important that they don’t remain separate pieces, attached to each other, but that they really merge with each other and with the body.

[nastiaosadchenko]

Meanwhile, the Prototype is in the making.

Silk was dyed naturally with red cabbage. Scraps of fabric were collected and manipulated into braids, along with the silk. And not the order & colour matching of the braids is being finalised.

[nastiaosadchenko]

Last thoughts on PURPOSE, GOAL, APPLICATION, USE IN FASHION INDUSTRY

Now that there is only a week left till assessment, I am finalising the project not only product-wise, but also concept-wise. While in process of making the prototype, I am once again contemplating the purpose, goal & application of my design & material collection.

Some great insights that I got were to stay true to what represents me and my vision. And that is concept creation, beautiful aesthetics & visualisation. By forcing the project into being a trend forecast, I making it into something it is not. Therefore I’m dropping the whole trend forecast idea, because this project is simply not about that. The frame of my work is not innovative and future-forward enough for being a forecast. Which is why it is important to embrace the exclusive couture feel of my textiles - the strength of this project. No running away from it, because it is not a weakness, on the contrary, it represents what I am. 

[nastiaosadchenko]

NOIR KEI NINOMIYA

Perhaps not the most relative designer in terms of the garment construction approach, since Ninomiya’s silhouettes are more related to sculpture and architecture, than intricate craft & minuscule nature references. However, they key to his design aesthetic is the use of materials & fabric manipulation. Always large and very 3D, symmetric, dramatic & witty - the looks are not practical garments, but statement art pieces. In that sense I can relate my design approach to his; and in that sense I could see my material collection being enlarged, extended and exaggerated into Ninomiya’s fashion creations.

[nastiaosadchenko]

SIMONE ROCHA

An example of a couture designer, for which my material collection could hypothetically be developed, - is Simone Rocha, one of the brightest contemporary British designers. Her creations are fresh, even though full of romantic & traditional references. The classical elements are implemented with a rebellious twist, which makes such couture not just “preciously decorative” but also fun & modern, yet reminiscent of the historical references.

What can particularly relate to my own design approach - is use of interesting materials such as hay, exaggerated pearls, shiny plastic or metal shapes. And lots of layering & gathering. Those are techniques that my project can definitely relate to, which is why Simone Rocha is a perfect example of a couture designer that I could take as a “target market” reference.